画家的

The two remains in the 19th Century French Realism art which has a lot of research on currently. However, most of it is about its criticalness and the themes characteristics. This paper tries to find out the specificity in formal structure and color expression mainly by analyzing the structure of some representative artist.

目前对19世纪法国写实主义绘画的研究已经很多，但大都是在研究写实主义的批判性和题材特征领域的，本文主要是从几个具有代表性的画家的画面结构入手，找出该时期作品在画面形式结构和色彩的表现性方面的独特性。

As an aboriginal painter, Dieter Jung applies the hologram to paint, which is equal to draw in light. In the recent years, he applies the digital technique, making the breakthrough in the traditional hologram to solve the problems of limited perspective, too small area and the color distortion, so as to form the indefinite and continuous space views. It is another angle created by the interaction between the viewers and Dieter Jung hologram.

原本是画家的迪特·容格，运用全像术等于是以光来作画，近年来他更运用数字技术，突破传统全像术景深不够、面积太小，以及颜色失真的局限性，观众可以随着自己所在观看位置的移动，而感受光线、色彩、形象的变化，形成不确定而可持续变动的空间景观，是由观者与迪特·容格的全像光影进行互动所共同创造出来的另一向度。

Through the investigation of those four aspects, the paper comes to the conclusion: thanks to the participation of many literatus, the development of Chinese painting has been changed accordingly in its aesthetic ideas, the standard of taste, formal styles,even the writing manner of its history, which is differed from those of western painting; surely, the cultural and social status of Chinese artists were different from the late as well.

通过这四个方面的有限考察，本文得出的结论是：中国绘画在其发展过程中，由于文人、或者说是士大夫的参与，使得它的美学观念、趣味标准、形式风格，乃至历史的撰写方式，在许多方面都显示出与西方绘画的不同；自然，中国画家的文化身份和社会地位也不同于西方。

The second part is the key of this paper. The author focuses on making an induction of expressive skills, cognitive process and beauty appreciation changes on color language in western painting in different periods, from primitive society to the ancient Greece, from Middle Ages to Renaissance, from the 17~ and 19~ century to the 20~ century. At the same time, the author makes a comparison between the typical works of typical artists and analyses the typical color language and its expressive approach. In addition, the author brushes the evolution relationship contained in color, such as symbolism, decoration, mitation, abstract and expressiveness of language, with the purpose of displaying the main features of color language in different periods and discovering the evolution relationship , its necessity and sequence.

其次，本文重点归纳总结了西方美术史各阶段，包括原始社会、古希腊到中世纪、文艺复兴、十七至十九世纪直至二十世纪绘画色彩语言的表现技巧和认知过程及审美嬗变，在此基础上纵向比较了以上各阶段典型画家的典型作品中的色彩语言和表现方法，并对西方绘画中具有象征性、装饰性、模仿性、抽象性和表现性的色彩语言及其演进关系也进行了纵向逻辑梳理，从而归纳出各个时期绘画色彩语言的基本特点及其历史演进的必然性和秩序性。

The high seriousness of the subject was also epitomized in Dante Gabriel Rossetti's painting, in which William Morris's soulful Titian-haired wife, at the time the painter's mistress, holds the Grail like a champagne glass that she is about to make ring with a snap of her long finger.

高度严肃的主题也表现在但丁加百利罗塞蒂的绘画上，里同威廉莫里斯那充满热情的金黄色头发的妻子。那个时候，画家的情妇却认为圣杯是像香槟酒般颜色的玻璃，她正把指环套紧在自己长长的手指上。

Tracing Warhol's origins as the sickly child of Ruthenian immigrants in working-class Pittsburgh to his transformation into New York's dark prince of Pop and finally into the world's most successful business artist, Andy Warhol "Giant" Size provides an appropriately larger-than-life look at the celebrated artist's career.

追查沃霍尔的起源为体弱多病的孩子鲁塞尼亚移民工人阶级的匹兹堡，他转变成纽约的黑暗王子的流行，并最终成为世界上最成功的商业艺术家安迪沃霍尔"巨人"提供了一个适当大小大于生活的期待在著名画家的生涯。

Frieda · Carlow takes painter's at the same time also to take a person to have such mental disposition; The chivalrous person and dares facing the human body to suffer, to surprised and special being partial to, bright, intelligent, sexy she always attractive and has many sweetheart to the man.

中国论文联盟http：//www.lwlm.com 摘要：弗里达·卡洛作为画家的同时也作为一个人具有这样的秉性；豪侠并勇于面对肉体的折磨、对惊奇与特殊的偏爱，鲜活、聪明、性感的她总是对男人有吸引力并有着许多情人。

Frieda · Carlow takes painter's at the same time also to take a person to have such mental disposition; The chivalrous person and dares facing the human body to suffer, to surprised and special being partial to, bright, intelligent, sexy she always attractive and has many sweetheart to the man.

择要：弗里达·卡洛作为画家的同时也作为一个人私家具有这样的秉性；豪侠并勇于面对肉体的熬煎、对诧异与希罕的偏心，鲜活、聪明、性感的她老是对汉子有吸引力并有着良多情人。

Recommended at an early age by his cousin Luca Signorelli , he became a pupil of Guglielmo da Marsiglia , a skilful painter of stained glass .

建议在幼年的他的表妹卢卡西尼奥雷利，他成为学生的古达Marsiglia ，一个熟练的画家的彩色玻璃。

But they did have their chores, Riccardo and the others-they were to scoop up the prints and engravings of the German painters for our Master, pictures made by the new printing presses of old wonders by Memling, Van Eyck, or Hieronymus Bosch.

但他们必定是有他们的份类事，利卡多以及其他男孩子为我们的主人抢购着德国画家的油彩画与版画作品，有梅姆灵、温艾克或是希罗尼穆斯·博斯的画作，都是用最新印刷机印制出来的。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。